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it's alright. i think this is my fav tune from terranigma. that's probably why i think this doesn't fully do it justice. i tried to remix it once and failed. it has this kind of melody that i've never heard elsewhere, and that really grew on me after prolonged play. it could make for a really legendary remix in my mind, one that would be near impossible to pull off. you'd have to get super lucky or/and be extremely skilled. that's my opinion. so, good tune choice anyway, hoboka! sorry, but my expectations for this particular tune are sky high.

"thrash metal mode" is like the most inconsistent mode, completely made up by tryhard musicians lacking any theory. locrian mode can accidentally describe a lot of metal riffs, just because it's so dissonant. the most classic example of metal chromaticism is surely the intro riff of "master of puppets". i'm sure you know it. but that's only descending...there's way more possibilities. the second riff in this song (0:21) is actually a good example of what i meant! e|-----------------------------------------------------------------| B|-----------------------------------------------------------------| G|-----------------------------------------------------------------| D|-----------------------------------------------------------------| A|-----2-----3-----4-----3-----2-2-----2-----3-----5\4---5\4---5\4-| E|-0-1---0-1---0-1---0-1---0-1-----0-1---0-1---1-0-3\2-0-3\2-0-3\2-| it uses the minor second, as well as the major second at the end. as well as both the minor and major sixth (the "3"s and "4"s on the "A" string, which make that classic "james bond" theme sound). try making a melody in locrian...but you could just as well try to tack on a different section with a melody in myxolydian, or minor blues scale, or wtf ever! this type of contrast is often what makes boss themes great!

the site just told me i am a "collaborator" now. that sounds questionable.

i haven't done anything with my WIP for some days - i hope i'll get sth done. atleast i used my age old MidiNes cartridge in the process. that's already very cool. i learned from youtube videos that it's a very rare item by now ;D

that's a nice name. thought it german because of the family name. i thought the choir fit nicely because everything before that is pretty synthetic, so it sounds relatively organic in comparison. if thinking in the greek modes helps you compose that's alright, but there's no rule either saying that you'd have to stick with a mode. what i'm hearing is what i call something like "dissonant thrash metal guitar riff" mode (because i learned most about it while learning classic metal guitar like metallica or slayer riffs.) it doesn't matter so much if it's a guitar or something else, it's about rhythm and dissonance. strictly thinking in the old diatonic modes isn't necessarily the best for doing good powerful and dark riffs like that - you might find that breaking it up with occasional chromaticism can work wonders. for example, the minor and major second can both sound very good in one riff if they're somehow used well interchangingly - and that's already beyond any of those modes. just something to keep in mind when composing stuff like this. the added freedom can be quite rewarding once you find out what you can do with it.

no you don't need anything like that, it just has to feel right. upload a version of the track that shows a full loop. i like the choir stuff btw, sounds good. this sounds quite ok compositionally, as a boss tune. there's not enough energy in the synth riffs during the first 25 secs and that's more of a sound and mixing problem. but it's not bad man. boss tracks especially are a great opportunity to go wild and fuck theory. have fun, you're doing good (really.) but do provide a proper loop. it's all about how the track loops, especially if it's just a minute long. btw is uffe a real name?

i think i'll finish something.

check this out: some good inspiration for DIY midi guitar. it's not rocket science, but you'll really enjoy having done something like this yourself. the libraries are totally ok, but this little tut hits closer to my heart.

ultimate guitar kit by gregjazz is still the best lead guitar in soundfont format. just saying!1 (gregjazz is orangetree b4 he gone commercial) it's my one soundfont for lonely island if i could just pick one. it's really good. those slide releases at high velocity that's some good shit man. uh yea

man, this is very tangential but whatever: just after writing the last post, i fired up fruity loops and did this random dissonant piano thing with a soundfont, and then thought a strings line would be nice with it; i remembered i had bought this physical modeling cello months or years ago, which sounded very cool but took away 50% cpu on its own! so i ditched it back then. i just put it back in my vst folder and completely lucked out on writing a lively sounding part with it. loaded up a breakbeat, and it's kinda going in the direction now of what venetian snares did with strings and breaks on that one album. it still takes up half the cpu but who cares if it just stays piano, cello and beats. awesome! one little bit of buyer's remorse curse lifted from my shoulders, it would seem! chheerss

writing really good (sounding) stuff is all about personalisation, and that is basically achieved by genuinely playing with what you got lying around. i think that's a perfect term. you play with your stuff, and it gets as involved as playing with an instrument, only that it works a bit different with sequencing. maybe you're more diligent or disciplined or nitty gritty or chaotic and happy go lucky about the way you play, but it all results in immersion and flow, and then cool stuff happens. i have trouble with pristine, complex libraries and such. i feel like they're playing me rather than i play them, and my buyer's remorse extends to me even feeling that i'm not worthy of them, because i don't get much done with most of them. i'm happy with the few big products i ended up using a ton. otherwise, i really dig soundfonts and such. because you HAVE to personalise them, else it sounds like crap. who am i to talk in this thread though! i never composed for anything noteworthy, i'm just verbalising my ten+ years of VST related OCD, buyer's remorse, and creative ruts here so, generic advice resulting from this questionable experience: if you buy something big, research it well beforehand, be certain about it, and then try to love it and make some beautiful shit with it before buying anything else! even though it's virtual, it's very similar to the guitar standing in your bedroom or whatever. you either love it to bits, or it may become this thing loaded with frustration and missed potential.

i am sure that frank zappa on his synclavier in the late 80s could have done a cool OST for pretty much any game. it would've been interesting, at any rate. he did the bedroom producer thing atleast 10 years before any of us. only that it cost $100.000++++ back then. the synclavier had its own qualities and intricacies that are incomparable with later tech, i guess (i heard it`s more like resynthesis), but basically, it`s soundfont v0.1. we have way too many options. we really only need time and experimentation. i mean, if you wanna do it with heart. if you wanna do it with speed, you need the libraries. easy, right?

that's a whole bunch! did you do all of those yourself? so much work man.... all i ever did was make my own Secret of Mana kontakt patches, way back in 2009. do you have a soundfont you think you got 100% right? making a game soundfont is like a meticulous game in itself, and getting 100% or close enough is no small feat...some loop points are real bitches. there's a relatively new vst out by plogue, and that just takes all the correct loop points from the .spc's. it's very nice, but i don't really wanna use that. i prefer using soundfonts in FL. so, thank you xouman!

it is the year 2022, the future, and the world is running out of topics. a dystopia of digital boredom. the zombies of this forsaken age don't need "BRAINS"... they're starving for "CONTENT!" in this barren landscape of "been there done that", a topic like this becomes a singularily tasty morsel of "oh gee, i never thought about that."

yeah, i figured as much. be proud of what you've done. and that's exactly the idea with "prog", always a lot of options to carry it different places. what i'm talking about would be a quite different tune.

i personally think the heavy distortion on the guitars and the overall hard rock sound right from pretty much the start don't go all that well with the theme. my first impulse really is that this level of intensity would work better at a later point in the arrangement, to top it off and raise it to another level. it all sounds quite good, make no mistake, but i think it's too much, too early, for this theme. i like the dynamic arrangement. it's quite lively. a lot of good stuff here. but i'd really prefer a more gradual buildup as sonic intensity (and distortion) goes, for this theme. i think 0:17+ could hit really hard somewhere in the 2:00+ area if you prefaced it with an earlier more acoustic, or just less distorted, version. the 15 sec intro is great, btw. but the field theme in full metal armor right after that.....it's over the top in a way that's thematically jarring, to me. maybe listen to some Gentle Giant or something for inspiration...to get some additional ideas on how to transmogrify the main theme without fully metallizing it right away. well, just an idea.

"menial gymnastics". i just made that term up.

i'm interested! i redownloaded a bunch of snes sf2s recently, and i recognised that blitz didn't get the fingered bass loop right! it's really not easy without reference. sd3 would also be much appreciated! but your upload service does an error 403 to me. think you can host it elsewhere?

my favorite part of descent was always the final cutscene bit where you escape the asteroid, and everything's exploding right behind you. a cool little adrenaline rush with a most basic story telling element...just feels good. track sounds solid, just not my type.

all hail coop!!! FOK YEah i am in!!!!! i -also- got credentials!! http://olremix.org/mp3/dasaten,_Nase_-_Merry_F-ing_Christmas(Tetris).mp3 pick me!!!! i will ask dasaten if he's still performing on recorder.

developing "three finger technique" with a designated finger for scrolling seems more likely if whatever you do involved a lot of scrolling. but judging from a quick test, alternating between index and middle finger while scrolling down/up just feels kind of satisfying. being used to that, using 3 fingers instead for a fixed purpose, like you do, seems a little "stiff" to me. maybe somewhat related, i'm a lefty and also like to switch knife and fork while eating, which is called the "european way" i guess? there's something gratifying about switching function of the hands or individual fingers, i suppose. it's definitely a matter of "style", and who knows, it might offer some deeper neurological insight. i definitely use my ring finger for scrolling 5%, also. 45% index, 50% middle, 5% ring. armchair analysis: i probably like variety. but not enough to employ the pinky at all.

it's pretty "random". time signatures make limited sense here. i'd say loop the structure based on the repeating drone and the longer "modem motif", and jam on it. my first idea would be to integrate it into a 4/4 groove in some way and see what interesting things might come out of that. treat it more as a soundbit that could fit in with whatever beat you juxtapose it with in funny ways.

i can't finish shit in the last couple years, but i like this one.

the percussion sound sounds like a finger snap to me, and i don't like it in context with the rest when i interpret it as such. it's just interesting because when i don't interprete it as a finger snap, it's really not jarring at all; but when i do, it feels out of place. it's sorta psychology/psychoacoustic. simple piece, but nice. reminds me i wanted to try some piano sequencing again, for a long time.

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